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Chasing Shadows

  by Tom DeLonge & A. J. Hartley

(about 609 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

There was his work, of course. Not the corporations on whose boards he sat, the companies who listed him on their mastheads. His real work. But lately, even that had started to trouble him. He lay awake most nights now, thinking, remembering, regretting. Something had to change. The Board wouldn’t like it, and it was going to be the hardest battle he had ever fought—which was saying more than most people would ever know—but it had to be done. It was time. Jennifer would help. Maybe not consciously or deliberately. He might not be able to tell her everything until the worst of it was over, but her presence at his side would make all the difference. That, too, would be a battle, but if Edward Quinn couldn’t wrangle his own daughter, it really was time for him to … what did the Americans say? Hang it up? Something like that. She would understand, eventually. He was almost sure of that. After all, the work had been good once. They had lost control of it, allowed it to turn into other things, but it had been good at the start. He still believed that. Sometimes it was the only thing keeping him going. There had been that one day, when she was small, when she had come into this very room and found him studying what he thought of simply as “The Project.” There had been a chart on the wall that she should not have seen. She had discomfort edging into pain. She looked down at it, her head swimming. A thin nylon strap, like a zip tie, was looped around her hand on the proximal side of her thumb and then through the metal slats of the gurney, or whatever it was she was lying on. The skin looked pink and swollen as she twisted it. The act focused her mind. She was still wearing the same clothes, though her jacket was missing. Tubes and wires snaked around her. Some were clustered between the cups of her bra, stuck in place with sticky pads that rose and fell as she breathed. One seemed to actually go into her left arm. An IV, she thought, dimly, trailing from a bag of colorless fluid on a stand. The room itself was hexagonal, like the cell of a bee hive, the floor matted with some dark rubbery substance, the walls white to waist height, then a broad stripe of dark, smoky glass she couldn’t see through. What looked like a door, without a handle or knob, was set in the wall to her right. Her head was filled with a strange white noise, part static, part layered harmonics, almost music that did not seem to change, no matter how she moved her head. As she looked around, still too sleepy and confused to be truly scared, two monitors set into the wall, above the band of dark glass, began to flash with a bright, unsettling light, an uncanny, poisonous green

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 3043.40 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

similar books by different authors

other books by Tom DeLonge & A. J. Hartley

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